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The IMAGING RESOURCE DIGITAL PHOTOGRAPHY NEWSLETTER
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Volume 14, Number 26 28 December 2012
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Copyright 2012, The Imaging Resource. All rights reserved.
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Welcome to the 348th edition of the Imaging Resource Newsletter. In this issue, we feature Imaging Resource's Sony RX1 Holiday Giveaway, some pro tips for shooting at night, some early feedback from our user survey, and an excerpt from our review of Nikon's new flagship enthusiast digicam, the Coolpix P7700.
TOPICS
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Imaging Resource's Holiday Giveaway: Win a Sony RX1!
Feature: 5 Tips for Shooting in the Dark
Hearing from You: Some Feedback from Our User Survey
Feature: Nikon Coolpix P7700 Review (excerpt)
New on the Site
We Have Mail
Signoff
SPONSORS
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This issue is sponsored in part by the following companies. Please show your appreciation by visiting their links below. And now a word from our sponsors:
Canon
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Follow the link below to download a PDF rebate form with full details!
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Sony
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Are you in the digital photo business? This newsletter is read by 41,000 direct subscribers, plus those they pass it along to, all with a passion for digital photography. For information on how you can reach them, contact us at editor@imaging-resource.com.
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Imaging Resource's Holiday Giveaway: Win a Sony RX1!
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The Sony RX1 (www.imaging-resource.com/PRODS/sony-rx1/sony-rx1A.HTM), the world's first full-frame compact digital camera, ranks high on Imaging Resource’s holiday wish list. But instead of being greedy, we're going to give one RX1 (valued at US$2,800) away to one lucky winner -- courtesy of our trusted affiliate partner, Adorama.
All you have to do is go to our Imaging Resource Sony RX1 Holiday Giveaway (http://woobox.com/dmyxa7) via Facebook, and enter for a chance to win and earn bonus entries for sharing with your friends.
Note: A few Imaging Resource readers told us that they'd like to enter our Sony RX1 Holiday Giveaway, but would prefer not to use Facebook. We're happy to include as many readers as possible in our promotion by providing a more traditional way for you to enter.
You may receive one (1) entry in the Imaging Resource Sony RX1 Holiday Giveaway by mailing a hand-written, 3" x 5" index card with the word "Entry" followed by your full name and contact information (phone number or email address) to:
Sony RX1 Holiday Giveaway
c/o Imaging Resource
1025 Wiley Bridge Road
Woodstock, GA 30188
Only one index card may be submitted per outer envelope. All mailed entries must be hand-written. Any illegible entries will be discarded. All mailed entries must be received no later than 12:01 a.m. ET on Friday, January 11, 2013, in order to be included in the drawing for the prize of a brand new Sony RX1 digital camera valued at $2,800.
NO PURCHASE NECESSARY TO ENTER. VOID WHERE PROHIBITED. Both international and domestic entrants allowed. Some winners may be required to pay additional taxes or shipping fees. All taxes due are the responsibility of the winner. Imaging Resource reserves the right to substitute a prize of equal or greater value in the event that the original prize is not available. The prize will be shipped free of charge internationally or domestically, but international winners are advised that they will be responsible for any import duties assessed by their country. Winner must respond within 30 days or the prize is forfeited and another winner will be randomly selected from eligible entries. The winner grants the use of his/her name to Imaging Resource for the purposes of a public announcement of the prize winner. Imaging Resource is not responsible for entries that are late, incomplete, illegible or lost.
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Feature: 5 Tips for Shooting at Night (with a Superzoom)
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By Steve Meltzer
Photography is about solving problems, and the other night I faced a slew of them. I live next door to Pézenas, France, which was planning to celebrate the completion of redevelopment work on its historic center with a live performance by a circus aerial act. At the end of the show, the troupe of fearless performers were to hurl themselves down long cables strung above the street and then drop five tons of feathers on the audience below.
Now I love the circus and have photographed aerial acts before, but usually under the Big Top. With the distance to the performers and the available light both likely to be constantly changing, I knew shooting outside at night with a digital camera was going to present big challenge.
Tip 1: Preparing in Advance
Faced with shooting an event like this, especially one with a large crowd, I always scout out the location beforehand to find the best place from which to shoot. For days prior to the show, riggers had been stringing cables from the top of a 300-foot crane to a high platform about 400 feet away. I knew that long cables sag and I was hoping to find the spot where they sagged lowest. This point would allow me as close to the aerialists as possible. About 250 feet from the tower, the cables dangled just 60 feet over the street. This is the place I wanted to be.
Tip 2: Selecting Camera and Lenses
Having found a location my next task was to choose my camera and lenses. Because the action would begin more than two hundred feet away from my vantage point, I needed a long lens -- a very long lens -- to get good images. Then when the performers were over my head and closer, I would need a mid-range lens. And after that, as they passed by me, I wanted a wide-angle lens for an expansive photo of the entire scene.
The spanner in the works was the crowd. Standing in the center of a mass of people, it is not a good idea to have a couple of cameras hanging around your neck. Neither is trying to change lenses in the dark when you are elbow-to-elbow with folks. Also, since everyone would be looking up at the sky, it was not the place to have a tempting, open camera bag either. Pondering these concerns, I settled on going light and chose a superzoom camera.
My superzoom of choice is a 12-megapixel Panasonic Lumix DMC FZ200, with a 24-600mm-equivalent f/2.8 lens. This lens perfectly matched my needs. However, as you probably already know, there is a downside to using a bridge camera. While the images may be great at ISO 800, at ISO 1600 and beyond they begin to get soft. My DSLRs, of course fare better at high ISOs, but their long lenses are not as long, and they're much slower. Using the superzoom, I felt, was my best alternative.
Tip 3: Rethinking ISO
The night of the event, I arrived early to claim my spot. Waiting for the show to begin, I kept an eye on the darkening sky and thought about exposure issues. Camera meters try to make the world 18-percent gray and you can see this for yourself. Just photograph something white and then something black and you get nothing but murky gray pictures.
With the black night sky, I knew that the meter would try to make it gray. No matter whether set to average, spot, or anything else, it would ruin my images. To get around this I set the exposure compensation control to -1.3, underexposing the picture by a stop and a third. Underexposure, I hoped, would produce a black sky, counteracting the meter’s tendency towards gray.
Tip 4: Checking Your Pictures Early and Often -- and Don't Panic
When the show began, the aerialists appeared and I was shocked. They were wearing white costumes! White costumes, lit up by spotlights, and framed against a black sky! It made me wonder what I had done to offend the photo gods.
Shooting a quick frame, checking my monitor I saw that it was worse than I had expected. The sky was indeed black, but the spot-lit white costumes had flummoxed the metering. The performers were just small blobs of white and completely burnt out. And, to top it off, the crazy lighting even threw the camera's autofocus off.
Trying to stay calm, I searched for a solution. The first thing I did was to reset the exposure compensation to its maximum of -3 stops. I hoped this would get me some detail in the white costumes. Then, I turned off the autofocus, switched to manual and, racking the zoom out to its longest focal length, set the focus to infinity. This way when the performers were a hundred feet away I would get sharp focus and when they got closer, I could switch back to autofocus.
Another test shot showed me that I was on the right track. So far, so good.
Tip 5: Steadying as You Go.
Image stabilization is great but even it sometimes needs support. With the performers lit up by bright spotlights, I was getting shutter speeds of 1/30- and 1/60-second. This was good, but at 600mm I had trouble getting just the aerialists in the frame.
To solve this problem I fell back on an old photographer's trick. Rather than holding the camera at arm's length and framing pictures on the monitor, I used the electronic viewfinder instead. Bracing my arms against my body, the camera pressed to my forehead, I turned myself into a "Steve-o-pod." This added the smidgen of steadiness I needed to keep the aerialists in the frame.
Were the results worth the effort? I think so. (See the images here: http://www.imaging-resource.com/news/2012/012/28/5-tips-for-shooting-at-night-with-a-superzoom)
Not only did I get some great photos, but the local tourism office liked them, too. They asked me if they could use the shots on their website and in travel promotions. And that made this shoot a pretty good night’s work for me.
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Want some more digital photography tips? Check out these other "how to" articles by IR contributor and professional photographer Steve Meltzer:
How to: Shoot into the light to create dramatic, backlit images
http://www.imaging-resource.com/news/2012/10/05/friday-photo-tip-how-to-shoot-into-the-light-to-create-dramatic-images
How to: Improve your rainy day photos
http://www.imaging-resource.com/news/2012/08/24/friday-photo-tip-how-to-improve-your-rainy-day-photos
How to: Turn off the auto flash and use ambient lighting
http://www.imaging-resource.com/news/2012/08/17/friday-photo-tip-improve-your-images-by-turning-off-the-auto-flash-and-usin
How to: Make your food photography more mouthwatering
http://www.imaging-resource.com/news/2012/07/11/five-tips-for-more-mouthwatering-food-photography
How to: Create better composition in your travel photos
http://www.imaging-resource.com/news/2012/07/10/three-more-tips-to-create-better-composition-in-your-travel-photos
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Hearing from You: Some Feedback from Our Reader Survey
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We posted a reader survey in the last issue, asking for feedback from our readers and fans. It'll take a while for us to fully digest and act on the results, but we thought you might like to hear some of the early conclusions.
Satisfaction: Good news here, 92% of respondents were either very satisfied or somewhat satisfied. (But we'd like to more the people in the somewhat satisfied column up to very satisfied.)
Length: Perhaps a little shorter? 88% of you expressed a preference for something that could be read in 15 minutes or less
Format: Only 18% preferred the current text-only format. 61% would like to see us move to HTML, so we can include photos and text styling. 21% are happy either way.
Content Style: Only 9% wanted only full-length articles in the newsletter itself. 31% preferred headlines with brief summaries and links back to the site, 60% wanted a mix of both.
Improvements: The biggest hit seems to be the idea of including "inside scoop" articles, early impressions from reviews prior to publication on the site. Fully 66% rated this either a 4 or 5 in the scoring.
Given that we're in the middle of the holidays, and have CES coming up the week that the next issue is due to go out, it'll probably take us till the second issue in January before we can act on a lot of this. But we'll definitely be working towards including a summary list of interesting site articles posted in the preceding two weeks, as well as sharing early results for cameras being tested.
Finally, if you haven't participated already, it's not too late to have your voice heard - You can take the survey by following this link: http://www.surveymonkey.com/s/5M2QQ8K
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Feature: Shooting with the Nikon Coolpix P7700
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By Dan Havlik
(Excerpted from the full review posted at http://www.imaging-resource.com/PRODS/nikon-p7700/nikon-p7700A.HTM on the IR website.)
The most striking thing about the Nikon Coolpix P7700 is how different it looks from its two recent predecessors. Both the Nikon P7000 (released in 2010) and the Nikon P7100 (released in 2011), so closely resembled Canon's flagship G-series PowerShot models, it was uncanny. The fact that Canon's top-of-the-line compacts have been some of the most popular out there with photographers for over a decade appears not to have been lost on Nikon, making this a case of "imitation is the sincerest form of flattery."
But that was then and this is now. With the 12-megapixel Nikon P7700, the company has created a new camera with a new sensor and a new, more rectangular look -- minus the optical viewfinder -- that is distinctly its own. The P7700 also adds 1080p Full HD video for the first time in Nikon's flagship Coolpix line and a fast 7.1x zoom lens with a maximum aperture of f/2.
Another change is the 3.0-inch, vari-angle LCD screen, which now is a left side-swiveling display, letting photographers compose their images from a wider variety of angles, including for self portraits. (The display on the previous model only tilted back and away from the camera body.)
So yes, the Nikon P7700 is a much different camera than Nikon's previous two supreme compacts, and in many ways it's a much better camera than those two models. But how much better is the P7700 and is it worth your hard-earned cash? I set out to find out.
IN THE HAND
First off, I'd like to say I really like the design of the Nikon P7700 and I don't miss the optical viewfinder as much as I thought I would. I haven't done a poll so I'm not sure if I'm in the minority on this but I have a feeling other photographers probably won't miss it as much as they thought they would too.
The optical viewfinder, along with the top section of the P7700, have been lopped off to make room for the camera's bigger, brighter lens. Instead of making the Nikon P7700 top heavy by stacking the optical viewfinder above the larger built-in lens, Nikon decided to get rid of the viewfinder altogether.
While I depend on an optical viewfinder with a DSLR, I've grown less fond of them on compact cameras because of their tiny pinhole sizes and poor accuracy. When zoomed in using the P7700's 7.1x (28-200mm equivalent) lens, a small viewfinder would be even less accurate.
The only situation where I usually miss having an optical viewfinder is when shooting outdoors in bright light. However, the P7700's high contrast, high-resolution, vari-angle screen did a good job of not washing out even in midday light, so the lack of a viewfinder didn't slow me down.
Overall, the Nikon P7700's tough but lightweight camera body -- 14 ounces (397 grams) with batteries -- felt professional while still being highly portable. The Nikon P7700's new rectangular design with rounded corners also means it's easier to stash in a bag when traveling and is less likely to get tangled up with the rest of your gear.
I also liked the Nikon P7700's sturdy, black-matte magnesium alloy body and the comfortable, rubberized handgrip. Another side effect of the P7700 having a bigger, faster, zoom lens is there are no longer built-in, protective shutters that automatically cover the lens when it's powered down. Instead, you have a small lens cap, which is an unappealing if inevitable option. (Keep track of it. It's easily misplaced.) Even with the lens cap, I found that the front glass element on the P7700 got smudged easily -- you'll want to carry a lens cloth at all times.
CONTROLS
One thing Nikon has done right with its last three P-series flagship Coolpix cameras is to give them ample external controls. The Nikon P7700's top deck alone is loaded with options including an exposure compensation dial, a programmable Function 2 button (the main Function button is on the front of the camera below the handgrip), a generous but loose-turning mode dial, which includes the traditional PASM set-up with full manual control, three programmable User settings, a movie setting, a new Custom movie setting, and Scene and Effect settings, the latter offering canned, pre-set shooting options.
On the left shoulder of the P7700, the Quick Menu Dial has returned, letting you quickly adjust some of the most used settings, such as ISO, bracketing and white balance. It's a nice feature that accesses and engages settings quicker than on the previous models, but I felt the dial turned a bit too erratically and felt a little imprecise.
The top of the camera also includes a responsive but slightly mushy shutter button surrounded by the zoom ring. There's a hotshoe and a fully recessed -- when not in use -- pop-up flash, giving the Nikon P7700 a clean and classic look not unlike a rangefinder. Underneath the shutter button on top of the handgrip is the Sub-command dial.
One button that's conspicuously missing from the Nikon P7700 is a one touch-movie button. Instead, you must turn to one of the two movie settings on the mode dial, press the shutter and then wait for a second while the screen blacks out before it starts recording a movie. The set-up is slow and seems a bit dated.
On the back is the big LCD screen which, when turned with the display facing the camera body, prevents the camera from powering on. While I understand why this is done -- it stops the camera from accidentally powering up when stowed in a bag and protects the screen from abrasions -- it could have been explained better in the Nikon P7700's manual. I'm sure there are quite a few P7700 buyers who at first got frustrated when their new camera wouldn't turn on.
Other rear controls are pretty basic, but well positioned, including the small switch to activate the pop-up flash -- it has what looks like a Pac-Man symbol on it -- and the Main Command Dial on back, which you'll find yourself frequently twiddling with your thumb.
SIDE-SWIVELING LCD SCREEN
While the rear, fold-out vari-angle screen on the previous camera wasn't bad, the Nikon P7700's 3-inch left-hinged, side-swiveling LCD is a great addition. While resolution is the same, the camera's 921K-dot LCD seemed sharper and easier to read, particularly outdoors, than its predecessor's.
Though side-swiveling LCD screens are nothing new, the feature is particularly suited for a portable camera like the P7700, letting you squeeze into tight, crowded places and still compose overhead and down-low shots. I used the Nikon P7700 extensively at the annual New York Comic Con convention at the Jacob Javits Center and the event was crowded, to say the least.
With the Nikon P7700, I was able to easily shoot overhead portraits of the colorful costume-clad characters at Comic Con just by turning the screen out and slightly towards me. The crisp display's high resolution also made it easy to see and adjust settings in the menu, which feature high-contrast, easy-to-read text in a reverse color display (white text on a black/gray background).
In playback, images and HD videos looked crisp on the new LCD, giving me a good idea of sharpness, especially when I zoomed in, which is achieved by toggling the zoom control. All in all, the Nikon P7700's revamped screen is a welcome addition.
PERFORMANCE
One of my biggest gripes about the previous two flagship Coolpix models was how slow they were to operate. To be fair, the P7100 was a dramatic improvement over the P7000, which was marred by sluggish overall performance. Things have further improved on the P7700 but I still wouldn't call this a fast camera to use, particularly if you like shooting RAW images.
The good news is that, for JPEG shooting, the Nikon P7700's shot-to-shot times are improved over its predecessor. When shooting Large/Fine JPEGs, the camera took about 1.5 seconds between snaps before it was ready to shoot again, versus about 2 seconds for the P7100. While this is not by any means a scintillating speed for a digital camera, it's more than adequate for capturing quick, candid photos.
At the same time, I felt the Nikon P7700 was sometimes slow to lock in its focus in challenging light. For instance, while using the camera at Comic Con, the dodgy convention center lighting proved problematic for the P7700, occasionally taking an extra split second to find focus. This, unfortunately, caused me to miss some colorful candid shots of attendees in full costume. This is ironic given the faster lens, but our lab results bear this out, with the P7700's autofocus speeds testing slower than the P7100's. On the upside, when shooting at the maximum f/2 aperture at the wide, 28mm-equivalent setting, I was able to capture sharp images in low lighting.
Where the Nikon P7700 and its two recent predecessors have struggled, speed-wise, is when shooting RAW images. Shot-to-shot times in the P7700's RAW mode, which uses a proprietary NRW format that is somewhat reduced in size compared to the NEF format in Nikon's DSLRs, were slow, at about 3.3 seconds between shots. That's about one second slower than the P7100.
Part of the Nikon P7700's slow speed is likely due to the fact that the camera still uses Nikon's EXPEED C2 image processor, which first appeared in 2010. While the P7700 can shoot at eight frames per second in its Continuous mode (the lab measured close to nine, which is very good), it can only capture six frames before its buffer clogs up and then must pause for 4 to 14 seconds depending on the file type before it can shoot again; even longer with a slower card. (We tested with a very fast 95MB/s UHS-I SDHC card.)
IMAGE QUALITY
Nikon has traded in the old 10MP CCD imaging sensor from the previous two Coolpix flagship models for a new 12MP CMOS sensor in the Nikon P7700. Despite the slight uptick in resolution in the 1/1.7-inch sensor, the P7700 didn't suffer from extra imaging noise when shooting at high ISOs. In fact, it performed quite similarly to the previous camera, producing usable images at up to ISO 1600.
Most of my Comic Con shots were captured at ISO 800 and 1600 and they tended to be on the oversaturated side, captured with the P7700's default Standard setting. If this bothers you -- and it didn't for my Comic character shots but it did for my portraits of regular folks -- you can change to the Neutral picture setting via the Quick Menu Dial.
As with the previous model, the ISO 3200 and 6400 (Hi 1) settings produced images that were rather noisy and should be used sparingly. Interestingly, the Low Noise Night Mode on the previous model, which could shoot at up to ISO 12,800 but at a drastically reduced resolution is not available on the P7700. Good thing, too, since we found it produced mixed results.
Along with helping me shoot sharper images in lower light, the Nikon P7700's faster lens helped produce more professional looking portrait images, with moderately background blurring, which is commonly known as "bokeh." But a word to the wise if you've shot with an f/2 lens on a DSLR: the bokeh produced by the P7700's f/2.0 lens was noticeable but not particularly dramatic.
VIDEO SKILLS
I'm glad Nikon has added a full 1080p HD video mode (at 30p) and my movie results were quite good. My one complaint -- mentioned earlier -- is that it takes too long to switch the camera from regular shooting mode to video mode. A one-button option for entering movie mode, rather than a dial plus shutter button plus wait a second or two, would have been appreciated.
Optical zoom is supported during recording, but oddly not when Custom Movie Setting mode is set to Aperture-priority or Manual exposure mode.
While the Nikon P7700's built-in stereo microphone produced decent sound, if you want more professional audio results, do yourself a favor and attach a stereo microphone to the P7700's 3.5mm jack for better audio.
Overall, while the P7700's HD video shooting skills aren't on par to a good HD-shooting DSLR with a decent lens, it produced solid results for most video projects. Plus, its relatively small size and side-swiveling screen lets you shoot video in tight spaces.
CONCLUSION
It's taken three tries but Nikon has finally produced a flagship Coolpix camera that stacks up well against its main competitor's class-leading cameras. No, the Nikon Coolpix P7700 isn't perfect and it still only uses a 1/1.7-inch sensor compared to the 1.5-inch chip in the Canon PowerShot G1 X and the 1-inch sensor in the Sony Cyber-shot RX100, but those are both considerably more expensive cameras.
But we genuinely liked the new, more original design of the Nikon P7700, which makes it more portable and more handsome looking. It's small and light, but boasts a solid magnesium body with several nice ergonomic touches, including a comfy handgrip. Yes, the optical viewfinder is gone, which will likely upset some photographers. And, truth be told, we have never really liked optical viewfinders on compact cameras because of how inaccurate they are, particularly when you're zooming in.
Speaking of zooming, the P7700 has an excellent new 7.1x (28-200mm equivalent) lens with a bright f/2 (wide) to f/4 (telephoto) aperture range. While it won't produce the dramatic bokeh in portraits that you get from a good lens on a DSLR, it captured very sharp portraits for us at f/2 and did well when shooting in low light. We also really liked the new, 3-inch LCD vari-angle screen that flips out to the left, letting you compose images from difficult angles. (Another reason not to get too upset that the camera doesn't have an optical viewfinder.)
On the downside, while some performance metrics such as burst speed are much better than its predecessors, the P7700 is actually slower when capturing RAW images in single-shot mode. Autofocus is also slower, though still good for its class. We also wish Nikon had put a one-touch video button on this camera. The P7700's full 1080p HD video mode is very nice but it takes unnecessarily long to engage it. Image quality overall was good, with just a few saturation quirks, and the P7700 produced large, high quality prints, especially at lower ISOs.
Nikon made some significant improvements to its flagship compact digital camera, and the P7700 is certainly worthy of ranking as a Dave's Pick. (http://www.imaging-resource.com/WB/WB.HTM)
SAMPLE IMAGES
You can find our Test Shots at http://www.imaging-resource.com/PRODS/nikon-p7700/nikon-p7700A7.HTM and the Gallery Shots at http://www.imaging-resource.com/PRODS/nikon-p7700/nikon-p7700GALLERY.HTM.
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New on the Site
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At http://www.imaging-resource.com/new-on-ir you can keep track of what's new on our main site. Among the highlights since the last issue:
- Reviewed: Olympus 60mm f/2.8 Macro Lens (http://www.imaging-resource.com/news/2012/12/27/lens-review-olympus-60mm-f-2.8-macro)
- News: GoPro founder now a billionaire; Foxconn buys into company (http://www.imaging-resource.com/news/2012/12/27/gopro-founder-is-now-a-billionaire-foxconn-buys-into-company)
- How the Pros Do It: 46-megapixel panorama of Mount Stuart and Lake Ingalls, lit by simultaneous sunrise and moonset (http://www.imaging-resource.com/news/2012/12/20/how-the-pros-do-it-46-megapixel-panorama-of-mount-stuart-and-lake-ingalls)
- Photos: Fearless Russian photographers scale towering structures to capture mind-blowing photos from on high(http://www.imaging-resource.com/news/2012/12/20/fearless-russian-photographers-scale-towering-structures-to-capture-mind-bl)
- I-R.com Site Upgrade: New Similar Cameras feature (http://www.imaging-resource.com/news/2012/12/07/ir-releases-new-similar-cameras-feature)
We Have Mail
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You can email us at mailto:editor@imaging-resource.com. You can read our Letters policy at http://www.imaging-resource.com/IRNEWS in the FAQ.
RE: Sony RX1
Hi - I got my RX 1 two weeks ago and was slightly disappointed because it showed a red/magenta cast on the right side and a green one on the left (regardless of RAW/Jpeg or the lens correction adjustments in the menu). Looking at your studio samples I noticed exactly the same. Do you have any information about this behavior?
Kind regards, Adrian
Hi Adrian -
We've seen that in some of our shots too. It seemed odd to us, as we saw it in some shots, but not others. In our sample, we think it might be related to the lens-correction processing, as shots that had lens correction disabled don't seem to show the phenomena - but that apparently wasn't the case for you. We've asked Sony about the issue, but haven't received an answer back yet, and the holidays and general year-end craziness have prevented us from investigating further on our own. Now, we're moving into the pre-CES show craziness, but will try to take a bit deeper look at the issue before we head off to the show. We'll let you know what we discover after some further experimentation.
-- Dave Etchells
Next Issue
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The next issue of the Imaging Resource Newsletter will be mailed to you on Friday, Jan. 11, after we return from covering the Consumer Electronics Show in Las Vegas. We're hoping we'll have a lot of exciting news to report!
Signoff
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That's it for now, but between issues visit our site for the latest news, reviews, or to have your questions answered in our free discussion forum. Here are the links to our most popular pages:
Daily News: http://www.imaging-resource.com/news
SLR Gear: http://www.slrgear.com
New on Site: http://www.imaging-resource.com/new-on-ir
Review Index: http://www.imaging-resource.com/camera-reviews
Happy snapping!
Dave Etchells & Roger Slavens
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